Article by Dagmara Genda // Feb. 28, 2020
The strong discursive bent in Oscar Muñoz’s work arises from the fact that he treats material as metaphor, as a means to meditate on the passage of time.…[read on]
Article by Benjamin Busch // June 03, 2019
How to trace nonbinary relations at the Venice Biennale, an aging institution burdened by spatial subdivision into national domains of representation? With a queer transversal approach…[read on]
Article by Sarah Messerschmidt // Feb. 12, 2019
Das letzte Bild: Fotografie und Tod at C/O Berlin covers an astonishing breadth of subjects and eras. Broadly speaking, the exhibition addresses photography’s attempt to reckon with mortality, as well as the human…[read on]
Article by Nathaniel Marcus // Sep. 05, 2016
My point of entry into ‘Poppy — Trails of Afghan Heroin’ was a city in southern Kyrgyzstan called Osh. Spread across four projected video channels was footage shot out of a car window into a slate-colored street at evening, overlaid with a line of text on Osh’s sex worker trafficking…[read on]
Blog post by Melissa Pink – in Berlin; Wednesday, Aug. 12, 2015.
Gravity and Grace
is the latest exhibition at Hochparterre Berlin
, featuring the work of North American artists Kottie Paloma, Zoe Kreye
, and Aja Rose Bond
. Here, the three artists transcend the normal uses of materials…[read on…]
Article by A.H. McGavin – in Berlin; Wednesday, Mar. 25, 2015.
Analog photography’s automatism has always offered a sense of objectivity in its portrayal of the surrounding world, and as a result it has always been valued for its perceived truthfulness. In The Ontology of the Photographic Image