REVIEWS

/ Amalia Pica
Amalia Pica’s “One Thing after Another”

STIGTER VAN DOESBURG, Amsterdam

Amalia Pica, A∩B∩C∩A∩B∩C, 2014.
by

Judith Vrancken

Twenty-first century communication has dramatically changed the way information reaches us. Popular interpretations of knowledge and history seem to do so without historical consciousness and self-reflexivity. Rather than playing with the structure of history, Amalia Pica, in her solo show at Stigter van Doesburg, “One Thing after Another,” concerns herself with... continue reading
Amalia Pica’s “Low Visibility”

JOHANN KöNIG, Berlin

View of Amalia Pica’s “Low Visibility,” Johann König, Berlin, 2013.
by

Ana Teixeira Pinto

Strictly speaking, you cannot interpret information; you can only decode it. Information is technical in nature; it concerns the precision with which a series of symbols are transmitted across a medium. These symbols can consist of anything—black font on paper, electrical pulses, colored flags. “Low Visibility,” the first Berlin solo show... continue reading
Amalia Pica, Endymion’s Journey,  2011.
by

Joanna Fiduccia

When the term “romantic conceptualism” reached its apotheosis several years ago, the touchstone appeared, almost unanimously, to be Bas Jan Ader’s I’m Too Sad to Tell You (1971). Gushing affect, it also self-reflexively performed the romantic artist’s predicament: the subjectivity romanticism gives license to profess proves, alas, incommunicable. Consistently and... continue reading

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