REVIEWS

Jean-Marie Appriou’s “November”

GALERIE EVA PRESENHUBER, Zürich

Jean-Marie Appriou, The gear of the suns, 2018.
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Aoife Rosenmeyer

The show is called “November”; I write as the month draws to a close. It’s cold and slightly damp, albeit not enough to offset the long, dry summer and autumn. But the apples sold at the market are still crisp, the Raebeliechtliumzug—an annual walk through the dark, originating in harvest... continue reading
Janet Malcolm, Untitled, 2016.
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Kim Levin

In the wing mirror on the passenger side of a vehicle, objects are closer than they appear. The texts republished in the Rearview series are those that we wish to draw attention to because they reveal certain “blind spots” in contemporary art criticism. These “found” documents (indeed, quasi-artifacts) are prefaced by... continue reading
Aura Satz’s “Listen, Recalibrate”

FRIDMAN GALLERY, New York

View of Aura Satz’s Preemptive Listening (Part 1: The Fork in the Road) at Fridman Gallery, New York, 2018.
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Genevieve Yue

On the night of July 16, 2006, Mazen Kerbaj stood on a balcony in Beirut as Israeli Air Force bombs fell in the distance. He picked up his trumpet and played along to the ominous pops, some louder than others. Starry Night (2006), the composition that resulted, asks the unanswerable... continue reading
The 6th Athens Biennale: “ANTI”

VARIOUS LOCATIONS, Athens

The Peng! Collective, Civil Financial Regulation Office, 2018.
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Kimberly Bradley

It was strange to visit the sixth edition of the Athens Biennale weeks after its kick-off and at times nearly alone. Writers covering megaexhibitions usually move in herds, but this time there was no press conference to provide me with pithy quotes to explain the title, “ANTI,” and no... continue reading
lauren woods’s “American MONUMENT”

UNIVERSITY ART MUSEUM AT CALIFORNIA STATE UNIVERSITY, Long Beach

View of lauren woods’s “paused” “American MONUMENT” at the University Art Museum, California State University, Long Beach, 2018.
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Travis Diehl

As of this writing in mid-November, “American MONUMENT” by lauren woods has been “paused” (not withdrawn) by the artist. It is a gesture meant to protest the firing of Kimberli Meyer, director of the University Art Museum at California State University in Long Beach and an instrumental collaborator in woods’s... continue reading
Fernando Sánchez Castillo, Swing, 2018.
by

Tianyuan Deng

While exhibitions that question the modernist promise of progress are hardly new, a biennale that takes stock of the current state of regress raises high hopes. Historical regression is proceeding on several fronts. One is the collapse of the neoliberal faith in the end-of-history narrative—that liberal democracy and free trade... continue reading

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MIA Art Fair
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