Berlin-based Natascha Sadr Haghighian’s exhibition at Carroll / Fletcher might appear visually spare, but with each work, Haghighian draws you further into a game of institutional hide-and-seek, in which visibility and invisibility, the act of remaining hidden and being revealed, are played out as Machiavellian manipulations of the conventions of...
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There are artworks that work on the viewer’s apprehension of an implied absence, and then there are artworks that simply stand there waiting for that apparent lack to be filled in by contextualizing talk. The former has something to do with aesthetic experience, the latter with a loss of interest...
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The crossed hammer-and-sickle insignia of the Bolshevik revolution has a sense of certainty to it. But it’s an old design, and a lot has happened since it first declared the coming triumph of the proletariat. So Marks (2011) the first work you see on entering Frith Street Gallery, has a...
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Commenting on new work by a “great” artist is always difficult. The task is fraught with paradoxes. After all, the moment you’re faced with recent work from an artist who has long ago been elevated to the canon of contemporary art history, what is there left to say? The work...
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Was the lack of booze a sign? Previously on opening night in the big tent, waves of waiters would set out at a given time to distribute a slow flood of Pommery, gradually inebriating a crowd of revelers.
This year change is afoot. After a hard afternoon of strolling the boulevards...
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At the core of the work of Slovakian artist Roman Ondák is the sometimes hopeful, sometimes melancholic reflection on the character and experience of human community, society, and its institutions; in the background, the question hovers of how individuals are obliged to live alongside each other, in the humdrum every-day....
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