REVIEWS

Jaou Tunis 2018

VARIOUS LOCATIONS, Tunis

Asmahan Tlig and Haythem Achour, Curtains, 2018.
by

Andrew Berardini

When you land in Tunis, all the press materials are in a language you barely understand and despite everyone’s best efforts, you constantly end up lost, looking for places you never find. You’ll spend hours of research and late-night web searches, riding air-conditioned buses between scattered events, gathering as many... continue reading
Dora García’s “Second Time Around”

MUSEO NACIONAL CENTRO DE ARTE REINA SOFIA, Madrid

View of Dora García’s “Second Time Around” at Museo Nacional Centro de Arte Reina Sofía, Madrid, 2018.
by

Sean O Toole

Among the artifacts assembled by curators Manuel Borja-Villel and Teresa Velázquez for their illuminating survey of Dora García’s work since 1997 are nine posters detailing the program for “The Inadequate” (2011), a 26-week investigation into radicalism, dissidence, and marginality staged by the artist in the Spanish Pavilion at the 54th... continue reading
View of David Horvitz’s “Água Viva” at Belo Campo, Lisbon, 2018.
by

Sofia Lemos

Pioneering ecologist, science communicator, and marine biologist Rachel Carson found the rhythms of the ocean to be largely indifferent to the rhythms of humans. Coastal forms, she observed, merge and blend in variegated patterns with the ancient surf and with new life, ultimately with the sole agenda of the “earth... continue reading
“Hyperobjects”

BALLROOM MARFA, Marfa

Emilija Skarnulyte, Sirenomelia, 2018.
by

Travis Diehl

In the back of Ballroom Marfa plays Emilija Škarnulyte’s video Sirenomelia (2018)—a short apocalyptic trilogy that explores the ruins of some of our species’ most advanced achievements in physics. A camera drifts, disembodied, through the Super-Kamiokande neutrino observatory in Japan. Pieces of CERN’s giant supercollider in Switzerland peel apart as... continue reading
View  of  "Signals:  If  You Like  I  Shall  Grow,"  kurimanzutto  hosted  by  Thomas  Dane  Gallery,  London,  2018.
by

Lorena Munoz-Alonso and Isobel Harbison

Double Take is a feature of art-agenda in which two authors review the same exhibition. Written separately, the two texts share the same images and are published below. –By Isobel Harbison “Signals: If You Like I Shall Grow” is an exhibition of works that come from a past that was alive to... continue reading
Hiwa K, Pre-Image (Blind as the Mother Tongue), 2017.
by

Ania Szremski

Hiwa K doesn’t believe that art can change anything. Following a screening of his videos at the Film Society of Lincoln Center, the Iraqi-Kurdish artist explained his frustration with the uselessness of the whole contemporary art enterprise in the face of profound global violence. To hear him say that he doesn’t... continue reading

AUTHOR

view all

GALLERY

view all
Abc
Bq
Kow
M+B
Non
Vw

ARTIST

view all
sp-arte
Blum&Poe
Vitamin creative space
Carolina Nitsch
Afterimage
Camera Austria
Magazine Mousse
Xavier Hufkens
galeria nara roesler
flashart
The Third Line
Aperture
The breeder