REVIEWS

/ AOIFE ROSENMEYER
Rodney Graham’s “Media Studies”

HAUSER & WIRTH, Zürich

(Left) Rodney Graham, Antiquarian Sleeping in his Shop, 2017. (Right) Rodney Graham, Media Studies ’77 (Meet Me in St. Louis), 2017.
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Aoife Rosenmeyer

Rodney Graham’s large-format light-box tableaux have been a mainstay of his oeuvre since 2006, and are consistently sophisticated and detailed. The artist’s current exhibition at Hauser & Wirth in Zurich includes seven new light-box works that do not disappoint, but, I wondered, why produce these works now? Graham has been active... continue reading
Heike-Karin Föll

GALERIE FRANCESCA PIA, Zürich

Heike-Karin Föll, topless, 2016.
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Aoife Rosenmeyer

Heike-Karin Föll’s exhibition nests within Rochelle Feinstein’s concurrent, longer-running show at Galerie Francesca Pia. The pragmatic arrangement suits, because modesty is Föll’s camouflage, starting with the conditions of the exhibition. At the gallery entrance are 4 notebooks in a vitrine, while the remainder of the works are in a side... continue reading
Kemang Wa Lehulere, Teeth are the only bones that show, 2016.
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Aoife Rosenmeyer

In her catalogue introduction, Koyo Kouoh calls Ireland “the first and foremost colonial laboratory of the British enterprise.” It’s a striking statement from the curator of EVA International biennial in Limerick. Titling the biennial “Still (the) Barbarians,” Kouoh uses it as a platform to consider how the legacies of colonialism... continue reading
View of Genesis Breyer P-Orridge's "Breaking Sex" at Galerie Bernhard, Zürich, 2015.
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Aoife Rosenmeyer

A long, long time ago—in 1976—an artistic collective called COUM Transmissions, of which the active members at the time were Genesis P-Orridge, Cosey Fanni Tutti and Peter Christopherson, held a short exhibition at the ICA in London entitled “Prostitution.” Pornographic photographs of Cosey Fanni Tutti were the main element: these... continue reading
Alexandra Navratil, Buoyancy, 2014.
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Aoife Rosenmeyer

A day prior to the opening of Alexandra Navratil’s “Plunge / Soar,” an article appeared in The Economist online suggesting that the low cost of human labor—brought even lower as other automated processes render people redundant—would be the major barrier to the widespread adoption of driverless cars.(1) This interesting—and horrifying—thought has... continue reading
Stephen Willats’s “Attracting the Attractor”

ANNE MOSSERI-MARLIO GALERIE, Basel

View of Stephen Willats' “Attracting the Attractor,” Anne Mosseri-Marlio Galerie, Basel, 2014.
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Aoife Rosenmeyer

It’s tempting to throw Londoner Stephen Willats in with the crop of neglected artists born in the first half of the last century currently being “unearthed” by the voracious contemporary market machine. Willats, born in 1943, may fit the generation, but to suggest that he required rediscovery would be misleading.... continue reading

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sp-arte
Spike
X-TRA
The Third Line
Anton Kern Gallery
Xavier Hufkens
art-agenda
Brooklyn Rail
Sprueth Magers
Tulips & Roses
Peres Projects
Carolina Nitsch
galeria nara roesler